Never conventional, never following the rules of any given norm, but in contrast, making ironic statements on society, turning “normal” items, traditions or circumstances into absurdity. This was what Dada artists like Marcel Duchamp, Francis Picabia, Man Ray, the Baroness Elsa von Freytag-Loringhoven and other practitioners were aiming at. A well-remembered incident is the scandal that introduced the concept of Dadaism into American Art. Duchamp brought a urinal to the first exhibition of the Society of Independent artists on 10 April 1917. He did not change anything, but moved it from its original place, called it “Fountain” and signed it with the pseudonym “R. Mutt”. Only four days before the exhibition took place, president Woodrow Wilson had declared war on Germany. As Michael R. Taylor writes in his essay “New York Dada”, this event “may have played a role in Duchamp’s decision to enter his scandalous submission”. The New York Dada artists wanted to show their neglect of the cruel war in Europe and with their art challenged ideas about art which were commonly accepted. They produced “paintings, mixed-media assemblages, sculptures, found objects, readymades, photography, and performances” (Taylor, 277). With the photomontage, the film or a photography the author of a work could not be guessed by looking at the work of art (Taylor, 277), the importance of the work was rather the message behind it. The message to a society which had absurd traditions, absurd machineries whith which people killed each other and a society that had cultural prejudices, which again were absurd. Having this common interest the New York Dada artists soon came together in the appartment of Louise and Walter Arensberg in 33 West 67th Street which served for their meetings from 1915 to 1921. “It was while surrounded by this stunning array of paintings and sculpture that the group members hotly debated such topics as art, literature, sex, politics, and psychoanalysis, while others preferred to play chess, drink champagne, or dance the night away in their bare feet.” (Taylor, 278).
Table of Contents
- Introduction
- Who was Elsa
- The position of the woman in general and the position of Elsa in the New York Dada group
- Elsa's behaviour differed from the images of a bourgeois society
- Elsa's art
- Conclusion
Objectives and Key Themes
This work aims to examine the life and art of Baroness Elsa von Freytag-Loringhoven, a significant yet marginal figure in the New York Dada movement. It explores her unique position within the male-dominated artistic landscape and analyzes how her personal life and artistic expression challenged societal norms and patriarchal structures.
- Elsa von Freytag-Loringhoven's life and personal experiences
- Her artistic practices and their relationship to Dadaism
- Her challenge to patriarchal structures and societal norms
- The role of women in the New York Dada movement
- The intersection of personal life and artistic expression
Chapter Summaries
Introduction: This introductory chapter sets the stage by contextualizing Baroness Elsa von Freytag-Loringhoven within the broader context of the New York Dada movement. It highlights the movement's rebellious spirit, its rejection of conventional artistic norms, and its use of irony and absurdity to critique societal structures. The introduction establishes the paradoxical nature of the movement, which while challenging norms, did not fully embrace the participation of women. It introduces Elsa as a unique figure within this movement, someone who defied convention not only in her art but also in her daily life, and outlines the scope of the paper's focus on her life, art, and position within the New York Dada group.
Who was Elsa: This chapter delves into the biographical details of Elsa von Freytag-Loringhoven's life, starting with her birth in Swinemünde, Germany, and tracing her early rebellion against her father's authority. It emphasizes her move to Berlin to escape a traumatic event, her unconventional marriages and affairs, and her eventual arrival in New York. The chapter highlights her early experiences shaping her rebellious nature and establishing her independent spirit. The narrative underscores how these formative years set the stage for her later unconventional lifestyle and artistic pursuits, particularly within the New York Dada circle.
The position of the woman in general and the position of Elsa in the New York Dada group: This section analyzes Elsa's role within the New York Dada group. While acknowledging the male dominance of the movement, the chapter focuses on Elsa's unique position as a marginal figure who, despite lacking financial recognition, maintained her own creative voice. It discusses how she lived and embodied the Dadaist philosophy, integrating her life and art seamlessly, a stark contrast to the more conventional approaches of her male counterparts. Her provocative self-presentation and artistic creations are explored in this chapter as a powerful means of challenging societal expectations placed upon women during this period. The chapter likely also examines other female artists within the context of the New York Dada movement to offer a comparative perspective of Elsa’s individuality and impact.
Elsa's behaviour differed from the images of a bourgeois society: This chapter details Elsa’s provocative behavior and self-presentation, which served as a form of performance art. It highlights her unconventional clothing choices, her use of makeup and body adornment, and her open sexuality. The chapter emphasizes her use of everyday objects in creating her costumes, drawing connections between the found objects utilized in Dadaist art and her own artistic expression through self-decoration. These choices, directly challenging bourgeois ideals of femininity and propriety, are analyzed in relation to her Dadaist beliefs and as a powerful statement of rebellion against societal norms. The arrest for public nudity further underscores the radical nature of her self-presentation. The chapter explores the relationship between her personal life and her art, highlighting how her personal choices directly complemented and enhanced her artistic expression.
Elsa's art: This chapter focuses specifically on Elsa's artistic creations, examining their themes, techniques, and significance within the context of Dadaism. It likely features a discussion of her use of readymades, her self-performances, and the ways in which she used her own body as a medium. Her use of found objects, mirroring the aesthetic of New York's streets, further solidifies the connection between her life and art. The chapter could also explore how her artistic style deviated from the norm, highlighting her unique position and impact on the art world. Her use of Duchamp's work and re-purposing of found objects can further be interpreted in this chapter as a commentary on art itself.
Keywords
Elsa von Freytag-Loringhoven, New York Dada, performance art, readymades, feminism, avant-garde, patriarchal structures, body art, rebellion, unconventional art.
Frequently Asked Questions: Baroness Elsa von Freytag-Loringhoven and the New York Dada Movement
What is the main focus of this document?
This document provides a comprehensive overview of the life and art of Baroness Elsa von Freytag-Loringhoven, a significant figure in the New York Dada movement. It examines her unique position within the male-dominated artistic landscape, her challenges to societal norms, and the intersection of her personal life and artistic expression.
What topics are covered in the document's table of contents?
The document includes an introduction, a biographical section focusing on Elsa's life, an analysis of women's roles in the New York Dada movement and Elsa's specific position within it, a chapter on Elsa's unconventional behavior and its contrast with bourgeois society, a detailed examination of Elsa's art, and a concluding section.
What are the key objectives and themes explored in the document?
The document aims to examine Elsa's life and art, her unique position within the male-dominated artistic landscape, her challenge to patriarchal structures and societal norms, the role of women in the New York Dada movement, and the intersection between her personal life and artistic expression.
What is discussed in the chapter summarizing Elsa's life ("Who was Elsa")?
This chapter details Elsa's life, from her birth in Germany to her arrival in New York, highlighting her early rebellion, unconventional marriages, and independent spirit. It emphasizes how her formative years shaped her later unconventional lifestyle and artistic pursuits.
How does the document analyze Elsa's role in the New York Dada group?
The document analyzes Elsa's unique position as a marginal yet influential figure in the male-dominated New York Dada movement. It discusses how she lived and embodied Dadaist philosophy, seamlessly integrating her life and art, and how her provocative self-presentation challenged societal expectations of women.
What does the document say about Elsa's behavior in relation to bourgeois society?
This section details Elsa's provocative behavior and self-presentation as a form of performance art, highlighting her unconventional clothing, makeup, and open sexuality. It analyzes how her choices challenged bourgeois ideals of femininity and propriety, acting as a powerful statement of rebellion.
What aspects of Elsa's art are examined in the document?
The document focuses on Elsa's artistic creations, examining her use of readymades, self-performances, and her body as a medium. It explores her use of found objects, her unique style, and how her art deviated from the norm, highlighting her impact on the art world.
What are the key words associated with this document and its subject matter?
Key words include Elsa von Freytag-Loringhoven, New York Dada, performance art, readymades, feminism, avant-garde, patriarchal structures, body art, rebellion, and unconventional art.
What is the overall conclusion of the document likely to be?
The document likely concludes by reinforcing Elsa von Freytag-Loringhoven's significance as a unique and influential figure in the New York Dada movement, whose life and art powerfully challenged societal norms and patriarchal structures. It highlights her lasting impact on both art and feminist thought.
- Quote paper
- Anne Mette (Author), 2006, Baroness Elsa von Freytag-Loringhoven: Her Life, Art and Postion in New York Dada , Munich, GRIN Verlag, https://www.grin.com/document/133283
